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Designing the Set for a Production of Henrik Ibsen’S Hedda Gabler

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Designing the Set for a Production of Henrik Ibsen’S Hedda Gabler Designing the Set for a Production of Henrik Ibsen’s Hedda Gabler By Samantha V. Schaeffer B.A. May 2006, Michigan State University A Thesis submitted to The faculty of The Columbian College of Arts and Sciences of the George Washington University in partial fulfillment of the requirements for the degree of Master of Fine Arts May 17th, 2009 Thesis Directed by Carl Gudenius Associate Professor of Theatre Abstract of Thesis This document contains information regarding the designing of the set for a Master's Thesis production of Henrik Ibsen's Hedda Gabler. It includes: a brief history of Henrik Ibsen, the collaborative process between the designer and the director, how the requirements of this show were met, the research process, how to establish a visually stimulating design, the build process, adjustments to the design once it was built, what was accomplished from this experience, research images and drafting plates. ii Table of Contents Abstract of Thesis…………………………………………………………………………ii List of Figures…………………………………………………………………………….iv Introduction………………………………………………………………………………..1 Chapter 1: Ibsen’s History and Societal Impact…………………………………..………3 Chapter 2: Meetings with the Director…………...……………….…………………….....7 Chapter 3: Determining the Needs …...……………….…………………………….…...10 Chapter 4: Inductive Research …………………………….……………..……...………12 Chapter 5: Long Distance Collaborative Development.…………….………...…………18 Chapter 6: Development of the Final Design……………………...………….…………27 Chapter 7: Finding the “Cool”…………………………………………………...………34 Chapter 8: The Build Process………………...……………...…………..………………38 Chapter 9: Tweaking the Design..……………………..……….………...……...…….…41 Chapter 10: Conclusion…………………………………………………………..………44 Works Cited……………...…………………...………….………………………………47 Appendix………………………………………………….……………………...………50 iii List of Figures Figure 1: Oslo. Dunker Villa…………………………………………………………….14 Figure 2: Oslo. Frognersteren……………………………………………………………15 Figure 3: Sandvik, Vestfold. Railway Station…………………………………………...15 Figure 4: Reykjavik. House at Laufasvegur……………………………………………..15 Figure 5: CHAIRS - Without arms - Entirely wood…………………………………..…16 Figure 6: CHAIRS – With arms – Upholstered back and seat, back partly open………..16 Figure 7: COUCHES – One end only – Upholstered……………………………………16 Figure 8: DESKS – Multiple legs – With superstructure………………………………..16 Figure 9: TABLES – Platform with feet – Large, centre column………………………..17 Figure 10: TABLES – With flaps – Three and four legs………………...………………17 Figure 11: Rendering. Version 1…………………………………………………………19 Figure 12: Floorboard research…………………………………………………………..19 Figure 13: Railing research………………………………………………………………19 Figure 14: Bench research……………………………………………………………….19 Figure 15: Second level research………………………………………………………...19 Figure 16: Fireplace research…………………………………………………………….19 Figure 17: Front framework research………………………………………..………19, 36 Figure 18: House exterior research………………………………………………………19 Figure 19: Rendering. Version 2, with center wall……………………………………...21 Figure 20: Rendering. Version 2, without center wall…………………………………..21 Figure 21: Wallpaper research…………………………………………………………...21 Figure 22: Portrait research. Louis Comfprt Tiffany, Self Portrait……………..……..21, 32 iv Figure 23: Rendering. Version 3, without center wall…………………..……………….22 Figure 24: Rendering. Version 3, with center wall…………………….………………...22 Figure 25: Rendering. Version 4, with center wall…………………………….………...24 Figure 26: Rendering. Version 4, without center wall……………………….…………..24 Figure 27: Furniture, wainscoting, wallpaper research………………..……………..24, 35 Figure 28: Rendering. Version 5…………………………………………………………25 Figure 29: Stove research………………………………………………………………...26 Figure 30: Final Production photo 1……………………………………………………..28 Figure 31: Final Production photo 2……………………………………………………..28 Figure 32: Window research……………………………………………………………..29 Figure 33: Final fireplace photo………………………………………………………….30 Figure 34: Wall fabric purchased………………………………………………………...31 Figure 35: Final Portrait photo…………………………………………………………...32 Figure 36: Landscape research. Wilhelm von Gegerfelt, Mussel-pickers at Villerville....32 Figure 37: Final Landscape photo……………………………………………………….32 Figure 38: Curtain fabric purchased……………………………………………………..42 Figure 39: Final Production photo 3…………………………………………………….43 Figure 40: Edvard Munch, Moonlight…………………………………………………………54 Figure 41: Edvard Munch, The Kiss……………………………………………………………54 Figure 42: Edvard Munch, Vampire……………………………………………………………54 Figure 43: Edvard Munch, Ashes……………………………………………………………….54 Figure 44: Edvard Munch, Separation………………………………………………………...55 Figure 45: Edvard Munch, Melancholy……………………………………………….....55 v Figure 46: Built-in shelving research…………………………………………………….56 Figure 47: Chair research………………………………………………………………...56 Figure 48: Living room door and hinge research…………………………………….......56 Figure 49: Living room desk and chair research…………………...…………………....56 Figure 50: Green door, blue wainscoting, and red hallway research……… … ……...56 Figure 51: Front Elevation.................................................................................................57 Figure 52: Groundplan.......................................................................................................58 Figure 53: Section View....................................................................................................59 Figure 54: Deck Elevation.................................................................................................60 Figure 55: Deck Setup Elevation.......................................................................................61 Figure 56: Living Room Wall Elevation...........................................................................62 Figure 58: Wall Section.....................................................................................................63 Figure 57: Study and Hallway Wall Elevation..................................................................64 Figure 59: Wall Section.....................................................................................................65 Figure 60: Study and Hallway Wall Elevation..................................................................66 Figure 61: Trellis Elevation...............................................................................................67 Figure 62: Step, Door, and Fireplace Elevation.................................................................68 vi Introduction Every MFA Graduate student at the end of their second year, become faced with the daunting undertaking of their 3rd year Thesis design. My path into this endeavor was both daunting and turned out to be quite an undertaking. Through much debate between Halloween and social plays (the performance dates were Halloween weekend); the choices were narrowed to Hamilton Deane and John L. Balderston’s Dracula and Ibsen’s Hedda Gabler. From the beginning of the process, I had expressed a desire to choose a realistic interior space for my design. My past designs have always been abstract ones, and I felt I had an obvious hole in my design portfolio where an interior design needed to go. In the end the director chose Hedda Gabler due to a combination of my thesis style request, the number of male to female roles, and to the actors we had to fill them. I was very excited to be given such a renowned work to design, since it was the first Ibsen show done at GWU in at least thirty years. I wanted my design to make an impression no matter what play was chosen. With Hedda Gabler as my vehicle I needed to find a road of inspiration to reach a final design. The path to the final was in no way a clear cut nor even linear one. All I knew at that start was that Ibsen’s work, with its precise dialogue, speaks for itself. Every theme, emotion, and conflict is so carefully written, I was confident about creating a realistic, interior space. This would hopefully lead the audience to delve into Ibsen’s world and would have a greater chance at taking away the significance of the story. The audience would walk in and feel almost at home in a real world setting and be more susceptible to Hedda’s anguish, or Thea’s bravery. I wanted to have the juxtaposition of a solid world around wavering, manipulating and crumbling characters. 1 The focus of this paper will include my entire design process; from my initial hindrances and enduring struggles, to the final design I described above. I will cover a brief background on Ibsen and the play, conversations and meetings with the director, how I came to a final design through research, script/director/thesis requirements, and about my struggle to decide on design details, the process of building the show, final changes to the set, and my concluding thoughts on this process and what I believed I have achieved. This became a greater process of personal development and of the dynamics of the collaborative group. Throughout the design process of Hedda Gabler, I assumed the task of researching specific elements to realize the practical and aesthetic objectives of the scenic design. How I learned to distill and organize appropriate elements for thematic and required elements of this show, and then using these elements effectively to create a cohesive design will be chronicled in this paper. 2 Chapter 1: Ibsen’s History and Social Impact Henrik Ibsen (1828 – 1906) was a foremost 19th Century playwright. He is often referred to as the “Father of Modern Drama”, and lived the majority of his life in Norway. Today he is regarded as one of the foremost and influential
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